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California State University, Northridge Underneath CALIFORNIA STATE UNIVERSITY, NORTHRIDGE UNDERNEATH HER SKIRT: STAGING SAMUEL BECKETT’S HAPPY DAYS AS AN EMBODIMENT OF BETTY FRIEDAN’S THE FEMININE MYSTIQUE A graduate project submitted in partial fulfillment of the requirements For the degree of Masters of Arts in Theatre By Cheryl Lynn Wanless May 2014 The graduate project of Cheryl Lynn Wanless is approved: __________________________________ ____________________ Ah-Jeong Kim, Ph.D. Date __________________________________ ____________________ Leigh Kennicott, Ph.D. Date __________________________________ ___________________ J’aime Morrison-Petriono, Ph.D., Chair Date California State University, Northridge ii Acknowledgements This graduate project would not be possible without God and St. Monica Catholic Church. Thank you to my family for pushing me to continue. I would like to thank Dr. Peter Larlham at San Diego State University for introducing me to the great plays of Samuel Beckett. Dr. Morrison, thank you for sharing your extensive knowledge of Beckett, as working with you has been both challenging and rewarding. I am very fortunate to have learned so much about Irish Theater from you. Someday I hope to visit Synge’s chair. Beckett is definitely worth the work. Dr. Kennicott and Dr. Kim, thank you for being on my committee. I am indebted to set designer Tony Cisek for emailing me back with such kind and inspirational words about the characters of Winnie and Willie. I feel your inspiration for your rendition of Beckett’s mound tied this whole project together with a final ribbon and reminded me why I started in the first place. Artists think alike in different corners of the world. To my little sister, Debbie, thanks for your input! I would also like to thank Charles E. Young Research Library at UCLA where I spent many tiring weekends and weeknights working on my research when I wasn’t working full-time. Nothing worth having comes easy. Thank you to my supportive and encouraging friends and colleagues, especially Erin, Janee, Darcy, Gloria, Stephanie, Tova, Seanan, Allison, Kristin, Charrisa, both Nicole’s, and Alex. Thank you all for listening to me and inspiring each in your own special way throughout the challenging iii process of my developing my graduate project and working towards my masters degree while working full-time and lacking an exciting social life!!! Finally, thank you to both Betty Friedan and Samuel Beckett for the everlasting impression they have had on the world and my life. Cheers to Winnie, for going down singing while fighting the never- ending battle that all women fight. iv Dedication This graduate project is dedicated to my family: Mom, Dad, Ali, Deb, Kevin, Karin, and Aunt Patty. Thank you for your continued love and endless support throughout this project and all the projects I have pursued over the years. Mom and Dad, thank you especially for teaching me the value of education and introducing me to great literature. v Table of Contents Signature Page ii Acknowledgments iii Dedication v List of Illustrations vii Abstract xi Introduction 1 Chapter 1 16 Betty Friedan’s The Feminine Mystique and Samuel Beckett’s Happy Days Chapter 2 45 A Closer Look at the Mound in Samuel Beckett’s Happy Days Chapter 3 62 My Rendition of the Mound from Samuel Beckett’s Happy Days Conclusion 73 Bibliography 88 Appendix A: Advertisements 95 Appendix B: Photographs of Various Renditions of the Mound 111 Appendix C: My Rendition of the Mound: Visual Inspiration, Sketch, Model 118 vi List of Illustrations Illustration Page 1: In Sink Erator garbage disposal advertisement, 1959 95 2: Frigidaire Built-In advertisement, 1957 96 3: Frigidaire Built-In advertisement, 1957 97 4: Frigidaire Built-In advertisement, 1959 98 5: Tide Soap Detergent Advertisement, 1953 99 6: Lewyt Power Cleaner Vacuum Cleaner Advertisement, 1956 100 7. MaxFactor Pan-Cake Make-up Advertisement, 1959 101 8. Sanitone Dry Cleaning Advertisement, 1959 102 9: Cocktail party hosting idea advertisement, 1958 103 10: Cocktail party hosting idea advertisement, 1958 104 11: Bernhard Altman Clothing Advertisement, 1960 105 12: Regina Electrik Broom Vacuum Advertisement, 1959 106 13: Advertisement from Giorgio Armani Cosmetic Campaign, 2011 107 14: Botox Advertisement, 2014 108 15: Ronay purse advertisement, 1959 109 16: Bufferin advertisement, 1959 110 vii 17: Director Jose Carrasquillo’s 2011 version of Happy Days, 111 designed by set designer Tony Cisek, at the WSC Avant Bard Theater in Arlington,Virginia 18: Director Jose Carrasquillo’s 2011 version of Happy Days, 111 designed by set designer Tony Cisek, at the WSC Avant Bard Theater in Arlington,Virginia 19: Director Nicholas Monu’s 2013 rendition of the mound in 112 Glückliche Tage at Theater Krefeld in Germany, designed by Udo Hesse 20: Director Nicholas Monu’s 2013 rendition of the mound in 112 Glückliche Tage at Theater Krefeld in Germany, designed by Udo Hesse 21: Photo of Mabou Mines’ 1998 version of the mound 113 from Beckett’s Happy Days at the Community Center in New York City, directed by Robert Woodruff and designed by Doug Stein 22: Photo of Mabou Mines’ 1998 version of mound 113 from Beckett’s Happy Days at TORONADA, directed by Robert Woodruff, designed by Doug Stein 23: Director André Brassard’s 2008 violet, post-apocalyptic 114 viii version of the mound from Happy Days or Les Beaux Jours in Quebec 24: Director André Brassard’s 2008 violet version of the mound 114 from Happy Days or Les Beaux Jours in Quebec 25: Photo of director Andrea Mata’s 2010 version of Samuel Beckett’s mound 115 in Días Felices with the Pluie Group at the Cultural Center of Spain 26: Photo of director Andrea Mata’s version of Samuel Beckett’s mound 115 in Días Felices with the Pluie Group at the Cultural Center of Spain 27: Mark Lamos’ 2010 version of Happy Days 116 at Westport Country Playhouse in Westport, Connecticut, designed by John Arnone 28: Mark Lamos’ 2010 version of Happy Days 116 at Westport Country Playhouse in Westport, Connecticut, designed by John Arnone 29: Robert Wilson’s 2008 version of the mound from Beckett’s Happy Days 117 at the Spoleto Festival in Italy 30: Robert Wilson’s 2008 version of the mound from Beckett’s Happy Days 117 at the Spoleto Festival in Italy ix 31: Photo of new Entrepreneur Barbie Doll, launched by Mattel, 2014 118 32: A sketch of my version of the mound from 119 Samuel Beckett’s Happy Days 33: A photograph of my version of the mound from 120 Samuel Beckett’s Happy Days 34: A photograph of my version of the mound from 121 Samuel Beckett’s Happy Days 35: A photograph of the vintage Barbie doll used to represent Winnie 122 in my version of the mound from Samuel Beckett’s Happy Days 36: Photograph showing a closer look at the various miniature items used in my 123 version of the mound from Samuel Beckett’s Happy Days x ABSTRACT UNDERNEATH HER SKIRT: STAGING SAMUEL BECKETT’S HAPPY DAYS AS AN EMBODIMENT OF BETTY FRIEDAN’S THE FEMININE MYSTIQUE By Cheryl Lynn Wanless Master of Arts in Theatre This graduate project explores the struggle of Winnie in Samuel Beckett’s 1960 play Happy Days through the lens of Betty Friedan’s 1963 book The Feminine Mystique. Both works feature women, housewives in particular, who are physically and metaphorically trapped. By studying contemporary literature by feminist authors, including Debora L. Spar, Sheryl Sandberg, and Naomi Wolf, I explore how the societal pressures faced by Winnie and the women presented by Betty Friedan continue to entrap and inhibit both working women and housewives today. As the advertisements of the 1950s and 1960s xi glorified the domesticated housewife role, contemporary works will be explored in this project as well, such as director Jennifer Siebel-Newsom’s 2011 documentary Miss- Representation, which shows how heavily the media continues to influence women with sexist images. By leading women to micromanage themselves, obsess over household issues such as cleaning and fixating on their looks, oppressive media images steer women away from pursuing independent careers, positions of power, and hobbies which are imperative for self-fulfillment. Winnie remains encased within the confines of the feminine mystique as it takes on the form of a mound. While the women Friedan discusses and interviews speak of an identity crisis and a feeling of nonexistence, Winnie actually embodies it. I will create my own version of the mound from Happy Days by using articles Friedan references within her book, fashion images, household appliances, cleaning supplies, style, and advertisements of the late 1950s and early 1960s eras. I will research seven versions of the mound for reference. xii Introduction A strong theme of female entrapment ties together both the play Happy Days by Samuel Beckett (1960) and the groundbreaking book The Feminine Mystique by Betty Friedan (1963). Both works feature women, housewives in particular, who are physically and metaphorically trapped. Betty Friedan was a trailblazer for women. Her legacy lives on today. Although she wrote many articles and books which addressed the inequalities and oppression faced by women in the 1950s and 1960s, one remains the most impactful: The Feminine Mystique. This work led to her fighting for equal rights for women as well as her developing many organizations for women’s equality. The references and articles addressed in this book are still relevant today, as current writers such as Sheryl Sandberg and Naomi Wolf explore the restrictions and pressures women face while trying to pursue careers and personal endeavors amidst societal and media pressures to fulfill stereotypical female roles. Friedan firmly stated, “The feminine mystique has succeeded in burying millions of American women alive” (Friedan 336). This statement remains a relevant current topic in that the success of the feminine mystique lies in its endurance and ability to reinvent itself in every era, using various media to oppress women.
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